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Scan 269
The story of the violin, 1904
10 lines. Read by computer on 3 September 2026. Printed page 7. See the scan on archive.org.
1Violin Art in Germany
3ment of instrumental music generally, fails to interest the non-specific historical student in the same degree as the contemporary art in Italy. Comparatively few men stand out as prominent, and their work is only more or less a reflection of that all-powerful Italian influence.
5Thomas Baltzer (born 1630 at Lübeck, died in London 1663) came to England in 1656, and was appointed leader of the king's band. It is said that he was a remarkable player in his day. As German contemporaries of Corelli may be mentioned:—Johann Furchheim and Joh. Jacob Walther, both connected with the Dresden Court in the second half of the seventeenth century; Franz Heinrich Biber (1638-98), capellmeister at Salzburg. Nicolaus Adam Strungk (1640-1700) is interesting, inasmuch as he was one of the first German violinists who went to Italy to study. Daniel Theophil Treu (born 1695 at Stuttgart) received likewise his education from Vivaldi in Venice, where he had been sent by the Duke of Württemberg. Georg Philipp Teleman (1681-1767), music director in Hamburg, is notorious for his fabulous fertility as a composer. He turned out compositions as a baker his loaves, though hardly any have survived.
7Still under Italian influence, violin-playing in Germany became artistically somewhat more satisfactory after the first decades of the eighteenth century.
9The first man here to attract our attention is Joh. Georg Pisendel (1687-1755), who, as concert-master at
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